Episode Transcript
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0:01
Those poor boys. Will
0:04
this subject never rest? I
0:07
suspect not while it continues to sell newspapers in
0:09
the numbers it does. Which
0:12
doesn't bode well for my upcoming Jubilee. The
0:16
Planning Committee came today with their latest
0:18
suggestions. Bigger than ever, my heart sank.
0:22
I keep telling them the timing is not right.
0:24
At this moment, people don't want to celebrate me.
0:26
They're sick of me, quite frankly. Better
0:29
not to provoke them with any grand displays,
0:31
but the list went on and on. Mummy?
0:51
Don't go, please. You
0:54
can't leave me alone with it all. Today
1:30
we'll be talking about episode 9 of
1:33
season 6, titled Hope
1:35
Street. In the
1:37
aftermath of Princess Margaret's death, Queen
1:40
Elizabeth approaches her golden Jubilee
1:42
with more trepidation than ever
1:44
before. To make matters
1:46
worse, a new investigation is launched into Diana
1:49
and Doherty's deaths, thanks
1:51
to a relentless public campaign by
1:54
Mohammed Al-Fayed, who believes
1:56
the royal family are to blame. When
1:59
the Queen Mother passed away, passes away, Elizabeth
2:01
hopes that Prince William might take a
2:03
central role in the Jubilee celebrations. But
2:06
between his blossoming romance with Kate and
2:09
the re-opened case surrounding his mother's death,
2:12
William wants to lead as normal a
2:14
life as possible, while he still can.
2:17
We'll cover specific events and scenes that
2:20
feature in this episode, so if
2:22
you haven't managed to watch Episode 9 yet,
2:25
I suggest you do that now, or very soon.
2:28
Coming up on this episode of The Crime,
2:31
the official podcast. We'll
2:33
say goodbye to the Queen Mother with Marsha
2:35
Warden. Everybody you spoke
2:37
to had known her, just her daughter.
2:40
But there was this steely thing
2:42
there as well. We'll hear about
2:45
the pivotal role of research in
2:47
recreating the pageant investigation. We
2:49
watched all the footage, we talked to experts, we
2:51
talked to a crash expert who talked us through
2:54
what would happen to Mercedes at speed and all
2:56
this kind of things, because the
2:58
incredible set-time provost, William, had to
3:00
reconstruct all these things for the evidence
3:02
room. And we'll meet the brand
3:04
new talent behind Prince Harry in the
3:06
series, Luther Ford. What was
3:09
interesting in researching is this idea of
3:11
a desire for normality on their part.
3:14
But there was something interesting about what
3:16
does normal mean to a prince. But
3:21
first, let's jump into Episode 9
3:23
with director Eddic Richter-Strand. There's
3:27
a lot going on here. We have a really
3:29
weighty kind of emotion, but then you also have
3:32
this lightness as well. Describe
3:34
to us what's happening in Episode 9, Hope
3:36
Street. It's unusually many
3:38
storylines. There are four storylines that
3:40
inform each other and develop
3:43
parallel and eventually converge. There's
3:46
the Queen's Golden Jubilee, which took place
3:48
in 2002. And then
3:50
there's the accusations and allegations
3:52
leveled by Muhammad al-Fayed about how
3:54
he feels there were conspiracies that
3:56
were behind the deaths of Diana and Dodie.
4:00
is the Queen Mother, who
4:02
becomes very ill and eventually dies in
4:04
the episode. And then there's William and
4:07
Kate and their relationship developing in St.
4:09
Andrews and how that sort of leads
4:11
us into a future that's
4:13
coming on later. And those four
4:16
storylines, the episode juxtaposes
4:19
and intercuts these storylines in a
4:21
way that is different than
4:24
the other episodes I worked on on the
4:26
show where there's more of, okay, this is
4:28
the story. We stick with that and
4:31
what happens next. Whereas this time, a lot of times you're
4:33
cut to a new scene and
4:35
it's a different storyline and that gives the episode
4:37
a different energy. One
4:40
thing that's been really important to Peter has been
4:43
the opportunity to tell Mohammed Al-Fayed's story and
4:45
to kind of really give him a voice
4:47
and humanise him. His storyline's obviously coming in
4:49
and out, but in this particular episode, it
4:53
kind of closes the Al-Fayed
4:55
storyline. And I
4:58
wanted to talk to you about where
5:00
we find him in this. He's a
5:03
father really dealing with grief and many
5:06
other things really. Yeah, he's
5:08
a man who
5:11
is not accustomed to not getting his wish and
5:16
he's a man who's also at
5:18
this point lost a bit of touch
5:20
with the reality in a sense. So
5:23
he's clinging to this idea, this
5:25
life lie, that what happened to
5:27
Doni and what happened to Diana
5:29
in Paris is a
5:32
vast conspiracy that goes into
5:34
the deepest underbelly
5:37
of the British establishment
5:39
and even into Prince Philip and
5:41
the royal family is very cool. And
5:44
he makes these accusations very
5:47
publicly and very strongly and he keeps
5:49
on repeating them and creating
5:51
this situation where he cannot any longer be
5:53
ignored and the press gets on board and
5:55
it becomes his momentum. Okay, what he's saying,
5:58
this thing that he's saying is crazy. we
6:00
need to actually look at it and see if there's
6:02
any truth to it at all. The
6:06
murder that beautiful innocent
6:08
girl and my doggy
6:10
with special military equipment
6:12
and flashing lights, I
6:15
have new evidence. Expert
6:18
witnesses and CCTV
6:21
tapes. And
6:23
I will have my jacks. It's
6:27
interesting because that's got obviously a kind
6:29
of almost a hark back to one
6:31
of the previous episodes that you worked
6:33
on, the Bashir, where he
6:35
was stoking Diana's fears and kind of
6:37
insecurities that she had in terms of
6:39
interest and further to be a seed
6:41
pranic back in that episode of conspiracy
6:44
theories and people's kind of
6:46
perception or misconception of situations. Yeah, that's
6:48
true. I mean, that storyline, Bashir
6:51
interview has really long tentacles and
6:53
it goes all the way into this episode.
6:55
Like the investigation brings all of that back,
6:57
not only for Charles, but also for William.
7:00
And that's something that Muhammad
7:02
in a way picks up the baton from
7:04
Diana and those beliefs that she's being set
7:06
up and people are out to get her.
7:08
And then after she's passed
7:11
away and died, Muhammad carries that torch
7:13
and really continues it on. Like
7:15
I said, he's not used to not getting his way.
7:17
He's not used to getting a no. And then he's
7:19
made this situation where if he can no longer believe
7:23
what he believes so strongly, which is
7:25
the conspiracy theory, then he loses in
7:27
a way his purpose in life. How
7:30
is it working with Salim? It was
7:32
lovely. Salim is such an intuitive emotional
7:36
actor and he
7:39
has very strong ideas and gives it
7:41
his all. And he's gone on a
7:43
long journey with this character from episode
7:46
five or three and throughout the last
7:48
season and then this season
7:51
coming up till the six or nine. So for me,
7:53
it was a real joy to be able to work
7:55
with him. And all this comes
7:57
at a time when the Queens had a real low in
7:59
terms of confidence. I mean she's really struggling
8:01
in a way that we haven't seen before.
8:04
Tell me a little bit about working with Imelda on
8:06
this episode to show I guess a
8:08
more vulnerable Queen Elizabeth. Imelda
8:11
in this episode 9 portrays
8:13
a vulnerability and an
8:16
almost fragility
8:18
that we haven't seen so much with
8:21
the Queen in
8:23
previous episodes. So it's about
8:25
finding the right tenor of
8:28
that and finding the right level
8:30
of anxiety and quivering
8:33
lips and hands to shake and the
8:36
tone of her breath and all that. But in
8:38
those close-ups, it can easily tip over and be
8:40
too much. And she's of course very sensitive to
8:42
that. So we have to find exactly
8:45
what is right and what is still feel
8:47
like the Queen. Particularly in
8:49
the scene with the
8:51
Queen mother passing and Imelda
8:54
and Marcia both kind of navigating
8:58
that. And like you say, it's not
9:01
like we can see the Queen,
9:03
Imelda's Queen burst into tears and react
9:06
as we all would if our mother
9:08
passed away. It's a fine line. But
9:10
there needs to be cracks. We still
9:13
need to see something, don't
9:15
we? We do. And we
9:17
decided to do that quite still. There is
9:20
no dialogue and we just sort of decided
9:22
also to go in just after she
9:25
died. Like in the second after in
9:27
a way. So there's no long prolonged
9:29
death rattle and that
9:31
sort of thing. We just stripped everything
9:34
out, kept it very still and just focused
9:36
on capturing Imelda's performance
9:38
at the moment where it sinks
9:40
in. That now I've lost
9:43
connection to that generation, my parents
9:45
generation. The only woman who's
9:47
gone before me who I could talk about what it was
9:49
like to be more or less in the role
9:51
that I'm in now. That
9:54
tie is now severed and I'm more alone than I
9:56
ever was. And
10:07
as we say goodbye to the Queen Mother in this
10:09
episode, I spoke to actor Marsha
10:11
Warren who plays her in seasons
10:13
five and six to look back at
10:15
her experience on the show. I
10:18
feel like I should be curtsying the singer
10:21
present, Marsha, to be honest, to give your
10:23
majesty. It's so
10:25
great to chat to you and congratulations on your
10:28
performance in The Crown. I
10:30
was very kind of you. It was the best job in
10:32
the world, I suppose. How
10:35
did you come to this role in The Crown? The
10:37
telephone went. My agent said, they want you to go
10:39
up for The Queen Mother and I roared with laughter.
10:42
I said, she's 91. She's a bit
10:44
stout. She's
10:47
got a very pretty round face.
10:50
And the only thing I've got that's like
10:52
her is her bad teeth and hips. But
10:56
still, I went up for it. Who
10:59
wouldn't? Who wouldn't? And it was with
11:01
this wretched Zoom
11:04
audition. Anyway, I read
11:06
a biography. I put the blue
11:08
blouse on her favorite color,
11:11
lots of beads of pearls,
11:13
of course, and
11:15
it became very calm and stently.
11:19
And the Zoom didn't work and they couldn't hear
11:21
a word I said. So
11:24
I thought, this roller's gone out the window.
11:27
So they mimed after
11:30
10 minutes, get your phone.
11:33
So I went to my phone,
11:35
battery critically low. So
11:38
the Queen Mother was seen crawling,
11:40
all on camera, crawling over
11:42
the floor with extension leads
11:44
trying to renew the battery.
11:46
It was dreadful, but eventually
11:49
we finished it and they
11:51
recalled me. God knows why.
11:53
God knows why. And
11:56
I went to see them, but it was
11:58
terrifying because it was so... important
12:00
and such a responsibility. Once you
12:02
got the role then, did you
12:04
kind of dive into to
12:07
research and obviously Peter's scripts
12:09
are kind of rich with
12:12
information and relationships. Yes,
12:14
I mean I read everything
12:16
going, I'm mastermind on the Queen
12:18
Mother, but there is very
12:21
little to go on voice
12:23
wise. That's the trouble. She
12:26
gave an interview when she was young to
12:28
the press and George V who was then
12:30
on the throne was
12:32
furious with her. He said
12:34
you do not show your feelings, you just
12:37
don't talk like this. So she
12:39
never gave another interview. So we
12:41
don't know really what
12:43
her private voice was like.
12:47
Because if you give a speech that's
12:49
not your voice is it? You
12:51
know you're saying it louder into
12:53
a lot of people. But
12:55
I've found a tiny little film
12:58
The Queen Mother's Horses. And
13:00
because she was talking about
13:02
things she loved and
13:05
was talking about carrots and
13:07
that's really where I took the
13:09
voice from. There's a lot of orphs. She
13:11
really did say orph. That
13:13
was quite hard really. But
13:15
I read a book by her Aquaree
13:18
as we have to call it, I'm still getting
13:20
used to it, who was with her for two years.
13:22
And that was the most interesting
13:24
because it was so personal.
13:27
And that was a very good book to read
13:29
and a lot of marvellous stories. We've
13:31
been lucky enough to come on set, Marsha, and
13:33
watch a few things being done which is just
13:37
such a wonderful luxury for
13:39
you coming into the
13:41
crown and the same with every
13:45
period of seasons when it's new casts that
13:47
come in. This is a well
13:49
or old machine now. What
13:51
was your expectation on what the set
13:54
was going to be like versus
13:56
what the reality of it
13:58
was? I couldn't believe. those
14:00
production values. I have never seen
14:02
anything like it in my life. The
14:05
care and the
14:08
research and the detail
14:10
was extraordinary. The
14:12
very first shot I did, I had
14:15
a blue hat and
14:17
it was her favorite and it was old
14:19
and wonky and she loved walking about
14:21
in it. And I put this hat
14:23
on and it
14:26
wasn't right at all. It was specially made,
14:28
it just wasn't right. And darling Amy
14:30
Roberts, the costume designer came
14:33
in and she said, oh. So
14:36
she took the hat off, stamped
14:38
on it and put it back
14:40
on my head, no. Then
14:42
she took it off, she took the hat
14:44
band out of it, plunked it on that,
14:46
no. Then she took the
14:49
whole lining out, stamped on it several
14:51
times and pushed it down onto my
14:53
head. That was right. That
14:56
was right. But they'd move a
14:58
brooch a centimeter to get it
15:00
right studying the picture, you know.
15:03
And the makeup, my favorite part of
15:05
the day, was about two
15:07
hours, tiny little
15:09
curls and they dyed my hair
15:12
white. I can't forgive them for that. And they,
15:17
because they create the character
15:20
really, the makeup and wardrobe
15:22
really, when it comes down to it. With
15:25
you? Yeah, I do that. With you though,
15:27
it's a team effort, isn't it? It's a
15:30
collaboration. Yes, but they're so, so,
15:32
so important. And as you say,
15:34
they've got all the baggage of having
15:37
done all those series, they know much
15:39
more than you do about it. It's
15:41
just a joy. You do all the
15:43
research and preparation and then you have Peter's
15:46
version of the Queen
15:49
Mother. How would you describe Peter's
15:51
version of the Queen
15:53
Mother who we all have an image of
15:55
or a thought
15:57
of or a memory of from the beginning?
16:00
seen her on TV or
16:02
however that may be. I
16:04
would describe Peter's view of the
16:06
Queen Mother as quiet because I
16:08
didn't have that many designs. But
16:11
he brought such humour to it. That
16:15
was a great blessing. That's
16:18
what people love about, one of the things that they love
16:20
about the Crown's version of the Queen
16:22
Mother is her comedy. She brings
16:24
this kind of real fun with
16:27
the scripts at certain moments and the sort
16:29
of light relief sometimes at
16:31
moments. Was that fun to play
16:33
with? She smiled all the
16:35
time, you know, in life. And
16:38
she was wonderful to her staff
16:41
and everybody who spoke to her
16:43
had known her, just a daughter.
16:46
But there was this steely thing there
16:48
as well. And protocol was
16:50
so important to her, you know,
16:52
this lone duty, of course. There's
16:55
this wonderful thing called directional talking.
16:57
And at dinners, the Queen had to
17:00
talk to somebody on her
17:02
left and after a
17:05
certain time turned and have a conversation
17:07
on her right. And everybody else had
17:09
to do that at the same time.
17:12
And you heard this voice say, I think
17:14
it's time for turning. Now
17:17
whether... But it's sensible, isn't it?
17:21
You're ignoring the other guests,
17:24
aren't you? I think all the
17:26
protocol things about the proper uniforms
17:28
and God knows what are
17:31
in the end, commonsensical
17:33
and sensible. It's
17:36
a beautiful episode
17:39
because we really feel
17:41
the power and the strength of the
17:43
bond between mother and
17:45
daughter with, you know, Elizabeth
17:47
and the Queen Mother. That
17:50
scene where you pass away is... It's
17:53
such a moving and beautiful
17:56
scene, you know, when she says, Mommy, don't go,
17:58
please, you can't leave me alone with it. or
18:00
a woman losing her
18:02
mother, aside that it's the Queen
18:04
and the Queen Mother. It's someone
18:07
losing her confidant, her friend, someone she
18:09
went to for advice. I just
18:12
was interested to get your take on
18:15
how you saw their relationship and what she
18:18
was and her. I mean, she must have felt
18:21
so awful for her to
18:24
have been given this, I know
18:26
it's a wonderful thing to be Queen, but it's
18:28
a terrible burden. And it's
18:30
sort of a life of small
18:32
talk in a way. You're
18:34
meeting people for five minutes who
18:36
you'll never see again. It's
18:38
a real sacrifice. And
18:41
she must have felt that for her daughter. Now
18:46
that it's coming to an end, what will
18:48
you take away from this experience of being
18:50
part of the Crown? There's
18:52
the brilliance of the crew and
18:55
the directors and Peter's amazing scripts,
18:57
the wonderful actors, there's so much
18:59
cud to chew. And you
19:02
have to trash your scripts, you
19:04
know, when it comes to an end. So I
19:06
use them in my compost bin. So
19:09
my flower, the Crown
19:11
Fritillaria, will actually be
19:14
fed by the palace. Now
19:16
how about that? And it is an
19:19
epic show. You
19:22
can learn about history, you
19:24
can see ravishing beauty, the
19:26
most wonderful acting and
19:28
all the details in care. What
19:31
a memory to take away, Marsha. And I
19:33
love that you're continuing the life of the
19:35
Crown by feeding it to the growth
19:39
of new life, basically. Wonderful.
19:45
Coming up later in this episode of the
19:48
Crown the Official podcast, we'll
19:50
meet another cast member who, unlike
19:52
Marsha, of course, is brand new
19:55
to acting. Get ready for Luther
19:57
Ford, who plays Prince Harry. Before
20:00
that though, it's time to hear from
20:02
the research team on the events that
20:04
underpin this episode. The
20:07
Royal Park of the Jubilee
20:09
contrasted with the painstaking analysis
20:11
of Operation Paget. This
20:13
is my favourite time of recording the
20:16
podcast for the Crown is when I
20:18
get to chat to Annie's first time
20:20
going to the Crown. Now,
20:22
when we've had you on the podcast many
20:25
times, you've always been in space about
20:27
the team that you work with and
20:29
you've brought a friend. Yes,
20:32
tell us who you've brought with you
20:34
today. Anna Vista,
20:37
who has been working, I
20:39
think it's 2017 with us
20:41
on the research team. Anna
20:45
has really taken control,
20:47
I think, in a wonderful way of
20:49
a lot of the production research. So
20:51
she's on set a lot, working with
20:53
directors a lot. Actors always
20:55
know she's there. If we have a big
20:58
set piece or something complicated, which I'll talk
21:00
about, it's really useful to have Anna on
21:02
set. She also manages the visual documents that
21:04
we started back in season two, which
21:07
translate the scripts into a
21:09
visual Bible that every department can then use.
21:11
So Anna has been by my side for
21:13
a very, very long time and I'm thrilled that you're
21:15
going to hear from her. Hi, Anna. Hi.
21:17
How are you? What an intro. Shall
21:21
we dive into episode nine? Yeah. I'm
21:23
curious, Anna, in other parts of the world, can you explain
21:25
what the Jubilee is and
21:28
what Jubilee is? Yeah,
21:30
of course. Yeah. So it's a celebration
21:32
of an anniversary of a monarch's reign.
21:34
This is 2002 will be the Golden
21:36
Jubilee. So that's 50 years. Last
21:39
time we saw a Jubilee was the episode
21:41
10 of season three, which was
21:44
1977, Silver Jubilee. So 25 years, a
21:46
lot has happened. It's a very different
21:48
Britain than is celebrating. A very different
21:50
royal family. It's a whole
21:53
year of events. There's tours, you know, the
21:55
Queen goes to every part of the UK.
21:58
She does Commonwealth tours. was
24:00
a celebration of her. So they made
24:02
it personal. You don't have to
24:04
like the monarchy necessarily, but we wanna
24:06
thank this woman for 50 or 60
24:08
years in stable, consistent service. And
24:10
I think coming in the same, you
24:13
know, off the heels of the Queen Mother's death, where you could
24:15
say, you didn't need to like
24:17
her, but she was stable and dutiful, and she
24:19
did what, you know, she was in this country,
24:22
working with this country her entire life. I
24:24
think that was the sense that you got. So by the end,
24:26
it was a real surprise to her that
24:28
people turned up and people celebrated her. Yeah.
24:31
While it had not been my destiny at
24:33
birth to assume the throne, fate
24:36
decreed otherwise. I
24:39
was fortunate to have some remarkable role models
24:42
to look up to. My
24:45
father and mother, my
24:48
grandparents, George the Fifth and
24:50
Queen Mary. They
24:53
instilled in me one
24:56
of my most enduring beliefs. That
25:00
a life lived in service is
25:02
not a sacrifice, but
25:05
an honor. Another
25:11
big part of this episode is
25:13
what was called Operation Paget or
25:15
Paget. Now tell me about this because
25:18
was the investigation, did
25:20
the investigation happen because of Mohammed
25:23
El-Fayed's request
25:26
or questioning about
25:29
what happened that night in Paris? Yeah,
25:32
it's a bit of a messy one.
25:34
So straight after the crash, the French
25:36
police obviously mount investigation. They
25:38
do really rigorous fact finding
25:41
about it that it's standard practice if
25:43
an accident like that happens. And,
25:45
you know, a few years later they publish their report.
25:48
It's not made public, but Fayed
25:50
hears about these claims. I mean, the
25:52
report basically summarizes that the
25:54
accident happened because Henri Paul was under the
25:56
influence of Al Cole and antidepressants.
26:00
And Fayed didn't agree with this
26:02
at all. He started mounting legal
26:05
challenges against that conclusion. All
26:08
at the same time in the UK, the royal
26:10
coroner, against standard practice,
26:12
he was going to open an inquest into
26:14
the death. That happens naturally in British law
26:16
when someone dies in another country and has
26:18
to be brought back. He decides
26:20
to stall
26:22
the inquest until he's
26:25
sure that Fayed's legal
26:27
challenges won't overall the French's
26:30
investigation. But he also
26:32
decides because there's so much speculation about the
26:34
death that it's best
26:36
to get a Met police team
26:38
to look into it first before
26:40
the inquest starts. So that's why
26:42
Commissioner John Stevens, who's often called
26:44
Top Cop in Britain this time,
26:46
he's brought in and he creates
26:49
task force that will look into this death and
26:51
make sure that there's no foul
26:53
play and so it can just go through a
26:55
normal inquest system. Where did the speculation come from?
26:58
It is largely- Media? Largely
27:01
media. I think Fayed is the
27:03
mouthpiece of conspiracy theories around this.
27:05
Although that being said, when the crash
27:07
happens, this is 1997, it's early internet
27:10
and it's the dawn
27:13
of forums and chat rooms. And
27:15
that's a hotbed for conspiracy theories. You know, people
27:18
are talking about all the
27:20
suspicions on there. But Fayed really
27:22
is the mouthpiece of them and he mounted
27:25
a big campaign to lambast
27:27
the conclusions that the police
27:29
were finding about it not
27:31
being an inside job. And
27:33
was part of his thing as well the fact that
27:36
it was an employee of his that
27:38
had- Well, exactly. Making that much
27:40
noise in the court of public
27:42
opinion distracted people from his culpability in
27:44
it. You know, as John Stevens says at the
27:46
end of his speech in this episode, it
27:49
was a fired car. It was a fired security man
27:51
who shouldn't be driving the car. They were driving from
27:53
a fired property to another fired property. There
27:56
is an element of him distracting
27:59
from- Yeah, his own partner. Mr.
28:03
Al Farratt has repeatedly insisted
28:05
that the responsibility for the
28:07
princess's death lies with the
28:09
British establishment, and
28:11
has amassed a vast legal team
28:14
to attempt to prove as much. But
28:17
this reaction must be viewed
28:19
in the light of the immense
28:21
personal heartbreak and trauma involved in the
28:23
loss of the sun. Yet
28:27
the facts remain. So
28:30
imagine then when within the show, when
28:32
you're having to depict that
28:35
investigation as part of this
28:37
episode, as
28:39
research team and production research,
28:43
how important it is to get it right, is to
28:45
get it on the money in terms of what
28:47
went into the investigation, what they investigated, all that
28:50
kind of stuff. Yeah, it's
28:52
interesting because we have multiple realities that we have
28:54
to deal with. We sort of have the reality
28:56
of the crown and what we show. We've
28:59
got the reality of the pageant report, and
29:01
then we've got all this subsequent information from
29:03
the inquest, and then we've got what we
29:05
know today. And so a lot
29:07
of it is sort of amalgamating all
29:09
this and deciding what we want our
29:11
story to be at this time, because
29:13
we're blending time zones
29:15
here to have an episode
29:17
where different events can speak to each other. Even
29:21
though they might not necessarily have happened at the same time.
29:23
But to have such an extensive report like
29:26
this, the pageant report was 964 pages or
29:28
something like that. So
29:30
it's this wealth of information
29:32
that we want to try
29:34
and distill, but also find
29:37
elements of it that speak to us most. And
29:40
I think the way we went about it
29:42
was very much similar to how Commissioner
29:45
Stevens went about researching it. By
29:48
depicting the last weeks of Diana and Dodie's
29:50
life, we were reenacting their last days. That's
29:52
what Stevens did when he went to Paris.
29:55
We watched all the footage. We talked to experts. We
29:57
talked to a crash expert who talked to the police.
30:00
talked us through, me and the Set Deck team talked
30:02
us through what would happen to Mercedes at that speed
30:05
and all this kind of thing. Because the
30:07
incredible Set Deck and graphics department had
30:10
to reconstruct all these things for the
30:13
evidence room. They reconstructed a
30:15
Mercedes, they reconstructed all of this
30:17
printed off evidence. They've got 3D
30:19
models, they've got Conchita models.
30:22
And so it was
30:25
a big endeavor. I mean, it testaments
30:27
those extraordinary teams that they created
30:29
this. But yeah, it was
30:31
a big subject to try and tackle
30:33
in an episode that isn't just about
30:35
this. This is a plot,
30:37
but it's not the main plot. Yeah.
30:42
Within that as well, in the episode we see Charles
30:44
and William both give statements in different
30:46
ways. There's almost a sense
30:48
of relief from William when it's over and away.
30:51
What do we know about the Royal's reaction,
30:53
interaction with Operation Pageant?
30:56
Yeah. So as we depict
30:58
the Stevens and his associate
31:00
DCS Douglas did go and
31:02
interview Charles. They had
31:04
this letter that Paul Burrell,
31:07
Diana Butler had found on
31:10
Diana's desk, which was from a
31:12
time where Diana's very paranoid and
31:15
she had written to someone saying, I think
31:17
that Charles is going to try and kill me. I think,
31:20
you know, she had paranoid about this
31:22
before with a previous lover. Yeah.
31:25
Her first affair was with Barry Mannequi who
31:27
was her PPO from Boys and he died
31:29
on his motorcycle. So she had
31:32
fears, like, you know, she had paranoid
31:34
around this. And so they put
31:36
this to Charles and said, you know, anything about this,
31:38
you know, as is founded in
31:40
anything. He hadn't heard
31:42
about that at all before. They really
31:44
seriously interviewed him. You know, one of the guys who
31:46
did it remembers it all very clearly and he was
31:49
very seriously, he took it very seriously, but it
31:51
was standard practice. They have to see him. And
31:53
with William, you know, obviously incredibly traumatic for him
31:56
to have to think about this, you know, take
31:58
all this up. But from here. him,
32:00
they sort of wanted to ascertain Diana's
32:03
state of mind at the time because he was the last
32:05
member of the Royal Family to talk to her. And
32:08
so just in case that might help with
32:10
dispelling theories, because they were asking lots
32:12
of friends whether she had mentioned that
32:14
she was engaged to Dodie or pregnant.
32:16
And so they had to ask William
32:18
because he was first hand, you know,
32:20
source on it. It must have
32:22
been so frustrating for them because they just wanted to
32:25
let it be put to rest. And they
32:27
released a statement after the
32:30
Pajé report was published saying,
32:32
you know, we hope this
32:35
is an end to speculation and that we
32:38
don't need to talk about other stuff
32:40
anymore. It
32:46
seems to do nothing but go to Fuego's and his family.
32:48
Tell me about it. Fuego
32:52
was supposed to have laid things to rest. Now I hear
32:55
they're dredging up Mummy's accident again, all
32:57
because of Alpha Head's crazy place. I
33:01
know. In this time that you want to
33:03
interview me. What for?
33:07
To determine Mummy's state of mind. And
33:10
why are you? Probably
33:13
because I was older than you at the time and
33:15
were able to understand what was going on. What I'm
33:17
all is actually going through what she went through on
33:19
a daily basis. He just picked
33:21
on and slagged off in the press. I know better
33:23
than you what it feels like. Don't
33:26
ever do that. What? Compare yourself
33:28
to her. It's not remotely the same.
33:31
Isn't it? What
33:34
she went through was far worse. And I
33:36
get it. It's not easy having no responsibility
33:38
and too much freedom. And you think I'd
33:40
enjoy the freedom sometimes of not having to
33:42
be the sensible one. The
33:44
reliable one. And welcome the opportunity to be the
33:46
likeable road. No chance of that. Why is that?
33:48
To be the likeable road. You first need to
33:51
be the likeable. It's
34:00
been wonderful to sit down with so
34:02
many legendary actors across the seasons of this
34:05
podcast, but it's particularly special to
34:07
get to meet the new generation.
34:10
The Crown has a habit of listing
34:12
up brand new talent as well as
34:14
epic and stunning actors from Vanessa Kirby
34:16
to Emma Corrin. So I
34:18
was excited to meet the Crown's
34:20
own Prince Harry, Luther Ford, on
34:22
set at L Street Studios. Luther,
34:27
I feel very honoured if
34:29
I'm going to be honest because this is the
34:31
first chat I've had
34:33
for the Crown. It's
34:36
the first chat I've ever had.
34:38
This is the first interview I've
34:40
ever had. Wow! I
34:42
genuinely feel honoured, so thank you. This
34:45
is so exciting. Do you mind if we go
34:47
back to before the camera
34:49
started rolling and how
34:51
it went for you being cast in the
34:54
Crown as Harry? Yeah. Where
34:56
did that journey start for you? So
34:59
it started in September.
35:02
So I'm at university. I'm in
35:04
my third year studying film, so
35:06
study film production. Never
35:09
had an intention to be an actor. Done
35:11
acting though? Never acted before. No
35:14
way. Never acted before. So
35:17
my brother's
35:19
girlfriend sends me this open casting
35:21
call, which I'd seen maybe on
35:24
like Facebook or Twitter, it was
35:26
all over the place. And
35:28
she sends it to me on a group
35:30
chat, sort of under the guise of like,
35:32
you're Ginger, give it a go. Get
35:35
involved. Get involved, Ginger. Yeah.
35:38
So I kind of like, I
35:41
thought maybe I'll do
35:43
it. I'll do it as
35:45
a joke for the anecdote that I
35:48
auditioned. That would be funny.
35:50
And the first thing was like, send a
35:52
video of yourself and just talk about yourself
35:54
for like 30 seconds. So
35:57
I did that and then I got back like
35:59
a recall. to do like and this is
36:01
all self tapes like a recall to do
36:03
it's like a dummy scene so I've seen
36:05
not from the series and
36:09
so like I have a couple of days to the
36:11
deadline I do it and
36:13
then like an hour later it's like another one
36:15
we would like you to tape again and
36:19
I'm not really thinking anything of it and
36:22
I'm completely like this
36:24
never happens
36:27
these kind of things like open casting calls
36:30
which I hadn't done one before but I was just like
36:32
it's not you know it's not gonna go anywhere still thing
36:34
you see in the movie but I'll follow
36:36
like the you know follow
36:38
on and so I
36:40
do another one and then I get a call from
36:43
one of the I think
36:45
she's a casting assistant Sarah Council who
36:49
was working with Robert Stern and K-Bone
36:53
and she said we're
36:55
really excited about what you're doing we'd like
36:59
you to come and do a chemistry test
37:01
with Ed McVay who's been cast as William
37:04
and then now I'm like oh
37:06
no like this is this
37:09
was a joke and I go
37:11
and I don't know I feel like I was operating
37:13
out of just like naivety and just like no pressure
37:15
on me because it was just the whole thing was
37:18
hilarious like I was going into it I was like
37:20
I don't know what I'm doing so I'll just go
37:22
and do it I'll just go and do something and
37:25
then I got another recall and
37:27
me and Ed just gone it was just
37:29
nice like I wasn't too nervous it was
37:31
just fire it was just good and then
37:33
I got the fuck and it was just
37:35
like the biggest escalation and it
37:37
was all in like three weeks and I was
37:40
just about to start my year at university like
37:42
I now know that
37:45
you like never know what's going to happen.
37:47
It's so great and not just the fact
37:50
that it's not kind of any old rule
37:52
that you're coming into you're coming
37:55
into playing a teenage Hari
37:57
Prince Hari which in itself
37:59
has kind of, I
38:03
mean, expectation, I guess, in
38:05
a way. Yes. The first
38:07
period was just me, like, I don't know, just like
38:09
off in the air, just be like, wow. And
38:12
then I remember I had a rehearsal with
38:15
Eric and Ed, and
38:17
then it was sort
38:19
of like, oh, God, like,
38:22
oh, my God, like, I'm, my
38:25
God, I'm gonna have to like act. Like, I'm
38:28
gonna have to act. And then so
38:30
then there was definitely like, it
38:32
was, it was very scary at that point, because then
38:34
I was just like, wait, hold on, I can't just
38:37
like, like, I need to like, I
38:39
can't cook here. What's going on? So I
38:43
just stayed at my parents house
38:45
for like three weeks, and basically
38:49
just kind of stayed inside and they
38:51
so they provide you with this, like,
38:53
very expensive research
38:55
package. Yeah. And just
38:58
kind of went through that. And
39:00
also was watching the crown, but then kind of
39:02
stopped watching the crown because I was like, it's
39:07
intimidatingly good. And they just
39:09
wasn't helpful in a way,
39:11
because I was just watching
39:13
it being like, you're not the
39:15
only one amount of thought and did the same
39:17
thing. She watched the first episode of season five,
39:20
as she was going into the start season section.
39:22
I can't do that. Yeah, yeah. I think as
39:24
well, the hard thing about getting
39:26
so much research is knowing when to
39:29
stop. Yeah. And
39:31
I think, at first,
39:33
I was, I overthought it started
39:36
to do an impression. And I
39:39
remember like, having a, I would have
39:41
dialect sessions with William Conaker. And
39:44
we got to a point where he was just like, I
39:46
think you you know, you're starting to you've kind
39:49
of taken certain things, maybe notes
39:51
to literally. And it
39:54
was just kind of, yeah, I just realized I had to go back to me
39:56
and realised
40:00
that, well hold on, they
40:03
didn't cast a non-actor with
40:06
the idea of what they were going to
40:08
become. It was probably something
40:10
was already there. Which is
40:12
hard to understand because you're like, boy, he's
40:14
a prince. So what's
40:16
that? But I kind of could understand
40:18
maybe like, he's a boy, he's a
40:20
boy and a kind of cheeky boy,
40:22
and this sort of mischievousness. And
40:25
that was what I felt like, okay,
40:27
I can tap into that. And I
40:29
think the main thing like from research
40:31
was Diana saying,
40:33
you can be as naughty as
40:36
you like, just don't get caught. And
40:38
that was, that was all I needed. Because I
40:40
was just like, yeah. And it was like the
40:43
whole experience was like, I am like,
40:45
I'm like, I remember my brother in law, he
40:48
just looked at me and said, the con
40:50
man is far behind enemy lines. And
40:52
that's what it felt like. It was like, I just
40:54
kind of got into this world. And
40:57
like, no one knew. No, no
41:02
clue. No clue what was going
41:04
on. That's such because, you know,
41:06
in terms of a, listen, this is
41:09
Peter Morgan's adaptation, based
41:12
on these real people. But in terms of a real
41:15
person having noise around them, hardly
41:17
may well be one of the
41:19
most noisy individuals in
41:21
terms of what's
41:23
been written about him, what's been
41:25
said about him, people's preconceptions,
41:30
all that about him was important
41:32
for you to try and kind of
41:34
just kind of almost sort of muffle that noise
41:36
out in a way. Yes. Yes.
41:39
Because it was ridiculous. I mean, like,
41:43
it is ridiculous, you know, two months into
41:45
moving cast, I think his, you know, the
41:47
documentary came out and then his book, I
41:50
just feel like, oh, Jesus, like, I'm in
41:52
the middle of like a kind of cultural
41:54
storm around this person that I'm going to
41:57
be playing. So no, I just had
41:59
to. Having said that, they
42:01
were amazing research tools, but I
42:03
just had to focus on what
42:06
was within the scripts, because like you say,
42:08
you know, it's Peter
42:10
Morgan's vision of these
42:12
people. And so you
42:14
focus on the relationships within it and the
42:16
angles that have been taken. And it was
42:19
very, I don't know, the kind
42:21
of brotherly relationship was very easy to slip
42:23
into with it. I think we, I don't
42:25
know, we just have a really nice
42:27
relationship. You can tell, I love the church
42:29
scene at the Queen Mother's
42:31
funeral. Oh, that was crazy. Everyone
42:34
was miming. So
42:38
the scene was us singing in, at
42:41
the Queen Mother's funeral, there's about
42:43
300 supporting artists and all
42:45
of the cast. We're seeing a
42:48
bit of dialogue, seeing a bit of
42:50
dialogue. And they
42:53
say to us, so everyone's going to mime
42:56
apart from you two. The you two are going to
42:58
be singing. And they're like, we're also
43:00
going to give you an earpiece so that
43:02
the music is just playing in your ear. So
43:05
there's no music. So we're singing acro-petta.
43:08
No, they were singing. They
43:12
were singing. Sorry,
43:16
that was dickish. Come
43:22
on, don't move across. It's
43:29
okay. I'll
43:31
be gone. What
43:34
prep or how much
43:36
did that inform your portrayal of?
43:39
Well, I think Diana sort of sits
43:42
at the heart of both
43:45
William and Harry. Yeah. And
43:48
I think
43:50
that sort of, yeah, her presence
43:53
or lack of presence kind of
43:55
dictates a lot
43:57
of how they view themselves. Yeah.
44:00
I think that me and Ed found really helpful
44:02
was this idea that William
44:05
understood Diana more, but
44:09
idolised her less, and Harry idolised
44:11
her more, but understood her less.
44:13
This idea that Harry didn't really...
44:16
I think that
44:18
it's quite important to Harry
44:21
for her to... For him
44:24
to be like her, because
44:26
that's sort of what he's left
44:28
with. And
44:30
there's almost like a competitiveness between the
44:32
two. I mean,
44:34
it's such a crazy because
44:37
they're bonded by this tragedy
44:39
and have been exposed to, you know, what
44:42
was it, like 2.5 billion people
44:44
watching her funeral and people expressing
44:47
more emotion than they were actually
44:49
feeling. Not just like, you know,
44:51
they were sort of drowned out by
44:54
what everyone else felt and never really
44:57
expressed. So they're, you
44:59
know, emerged and
45:02
are kind of living in this really,
45:04
really strange, soft, sustained
45:06
period of trauma they never really
45:08
dealt with. Yeah. It's
45:11
an interesting relationship, isn't it? The Harry and
45:13
Charles relationship. Yes. It
45:15
is, yeah. And the way that
45:18
Peter's written it. Yeah. I
45:21
do think that there's quite a lot of distance
45:23
between them. And
45:26
as he's seeing, you know, William's
45:28
role within the family emerge more,
45:30
he's also losing his brother, you know.
45:32
It is sad. It
45:35
is sad, it is sad. And I do
45:37
think that, you know, there's something in
45:39
a way more heartbreaking about seeing
45:41
them getting on as brothers because
45:44
they love each other. That's what I think, I
45:47
hope comes across is that there's
45:49
so many shades to their relationship. And
45:52
you don't end on, it's not black
45:54
and white. They love each other, they
45:56
find each other really annoying. They're very
45:58
competitive. they resent each
46:00
other's, you know, the air's power and
46:02
the spares freedom. Yeah, it's really a
46:05
complicated relationship. And also because of the
46:07
age that they are as well, you
46:09
know, kind of the
46:11
emotions and the growing up that's going on
46:13
in young people at that
46:15
age. You know,
46:17
it's, there's so much change going on
46:20
internally, externally as well. And because of
46:22
the age difference that
46:24
they are, you know, there's, they're all
46:26
always at slightly different levels of, of
46:29
kind of where they are. And it's
46:31
just, there's so much expectation on that
46:33
relationship being what
46:36
everybody expects it to be. Yeah. Rather than what
46:38
the reality of what it is. Yeah. I think
46:40
we really see that in the show. That's
46:43
good. I think, yeah. And being born into, this
46:46
is sort of the first generation that are born into
46:48
a contract with
46:50
the press. They're in the public
46:52
eye. And so
46:55
they're dictated by that a lot. And
46:57
I think what was interesting with researching
46:59
is this idea of a desire for
47:01
normality on their part. But
47:04
there was something interesting about, you know, what
47:06
does normal mean to a prince? I
47:10
guess coming into this with this brilliant,
47:13
you know, attitude at
47:15
the start, what was the
47:17
reality of the experience of being in
47:19
the season of the crown versus what you
47:21
thought it would be? I
47:25
think, I think the
47:27
thing is, is that once you get to know
47:30
the cast and the crew, you forget
47:33
about what it is in
47:35
the wider context. There's
47:37
such a nice atmosphere. I think the thing
47:40
I was most shocked about at first was
47:42
just how relaxed it seems. They were amazing
47:44
at putting us, the younger actors,
47:46
for coming in at ease, I think. But
47:49
I mean, yeah, God, it's
47:51
been challenging in every sense.
47:54
Jesus Christ. Like, yeah, I've
47:56
gone through everything, really. Somehow,
47:59
I've just come to this. kind of rolled with the
48:01
punches. But
48:05
it was definitely, I mean like my first day, me
48:07
and Ed's first day, filming
48:10
at Lancaster House, which
48:12
is probably the most, it feels the
48:14
most kind of royal because you're literally
48:17
next to where the king lives. So
48:20
that was our first day there and
48:22
all the main cast was there. What
48:25
was the scene? The scene was Queen
48:27
Mother's funeral and arguments. And
48:29
again, everyone was
48:31
miming. Far from us. We
48:34
had to project a level above
48:37
the room. Because of the habil. Yeah.
48:40
It was a ridiculous place to start. But
48:42
it was really good in that it
48:45
was probably the hardest thing we could have started with.
48:47
And I remember then, a lunch,
48:50
if you like to say, yeah, you're just gonna go downstairs
48:52
to have some lunch. Go downstairs, walk
48:54
into this room. And
48:56
it's like, Dominic West and I was told
48:58
to join some friends. All
49:01
in full costume, just sitting down. Lunch.
49:05
And I just like sit at the end of the table and
49:08
just watch them. And I'm
49:10
just like, what is going on? What
49:13
is going on? No, it's
49:15
been really good. Like I don't think it
49:17
could have really been a
49:19
better experience. And of
49:21
course, the younger generation do
49:25
take a key role in episode nine as William and Kate finally get together and
49:29
a new future for the royals begins to take
49:31
shape. So let's go back
49:33
to director, Eddic Richterstrand. William
49:37
and Kate, everybody knows them. Everybody
49:40
thinks they know them. We've all
49:42
followed that relationship which
49:45
has been documented by the Royal. But
49:47
we have to find it in this untouched
49:50
place almost in a way. Do
49:52
you know what I mean? Where it's from
49:54
their perspective, not their perspective. I
50:00
was. Yeah, it
50:02
is. One of the first
50:04
scenes I filmed with Megan was the fashion show
50:06
in St. Andrew's. Oh wow, no way! That was
50:08
one of the very first scenes, if not the
50:11
first, that I filmed with her. I
50:13
guess that's quite good, get out of the
50:15
way. Get out of the way, yeah, it
50:17
was a great fun. Yeah. And she got
50:19
to work a lot with our movement coach
50:21
Polly Bennett. Yeah, great. Because she helps also
50:23
finding that level of confidence and strutting
50:26
down the catwalk is not easy for anyone. Yeah. And
50:29
to do that in a way where you also reveal that,
50:31
yeah, I'm just a student, I'm just a normal person,
50:34
I'm not a fashion model, and it's
50:36
all a bit naff and the music and
50:38
the people and the costumes, it's all meant
50:40
to be kind of student-y and fun. Yeah,
50:42
harsh lighting. That can't even feel just for
50:44
lighting kind of thing, isn't it? Yeah, exactly.
50:46
And at the same time trying to, in
50:48
such a heightened moment
50:50
and scene where everybody's watching her, trying
50:52
to do that while she's
50:55
wearing a see-through dress, while
50:57
not making it an exploitation of her,
50:59
and not making her body the focus of it, but
51:02
more that statement that
51:04
she's making by stepping out onto that stage
51:06
dressed like that for William, and
51:09
creating a bubble between the two of them and saying,
51:11
okay, it's actually just these two in this room right
51:13
now, even though it's filled with 200 people. Do
51:17
you like it? Life. Life. You
51:22
looked incredible. Aren't
51:26
they doing something drastic? No,
51:31
one way or another. What? If
51:37
you were interested. Do
51:41
you have conversations with Ed
51:43
and Meg about almost
51:45
kind of staying true to the show
51:47
and not being clouded by
51:50
the real people?
51:52
Because there are so many headlines and stories
51:54
around them as individuals, them
51:56
as a couple, and the Crown has
51:58
its story of... them as
52:01
characters to tell. My job in those
52:03
situations is to help them focus on
52:05
the moment. What is this moment about?
52:07
Because they've both read books and biographies
52:09
and done very easy research. Whereas
52:12
in a moment when it's about sitting down
52:14
and having a meal for the first time
52:16
in your new shared apartment with your friends,
52:18
that's all it is. And that would be
52:20
the same for anyone who's in love and
52:22
looking across the table. That's no different from
52:24
them than from anyone else. The same thing
52:26
in other scenes like
52:29
the fashion show. It is more heightened and everybody's
52:31
eyes are on them for that
52:33
reason. So it's
52:35
about helping them navigate
52:37
when it's personal and private and
52:40
when it's more public, especially
52:42
for someone like William and Ed who plays
52:44
William. He's always straddling
52:46
that line between being very aware of
52:49
being a public figure and being watched
52:51
and then at times allowing himself to
52:54
be private and just be himself. University
52:57
should be about having fun and growing
52:59
up. You can't have fun and
53:01
you've got photographers and police
53:04
officers with you wherever you go. You
53:06
certainly can't go on a date with a girl. Ah,
53:09
yes, I wanted to ask you about all
53:11
that. Or even be seen with one without
53:13
someone predicting wedding bells before long.
53:15
And there's
53:17
the other stuff. What
53:19
other stuff? Speculation about how the
53:22
monarchy, in order to stay
53:24
popular and relevant, should skip a generation in
53:27
favor of me. Well
53:29
that's just nonsense. Well I know
53:31
that. You know that. But
53:34
the people don't know that. They only know what
53:36
they read. And
53:38
it gets really confusing because
53:41
the more they believe the rubbish they read,
53:43
the more it affects the way they behave with me
53:45
and the more it ends up
53:47
becoming my reality sometimes. And
53:51
that is why you see that in the kind
53:53
of contrast between the Middleton world and the
53:55
Royal world, which are the two worlds that
53:57
he's straddling in terms of where
53:59
does Where does he fit in? And I
54:02
love that you, in this episode, you
54:04
take him into the Middleton household. It's
54:06
great, it's a great thing to watch. Was
54:09
it fun to film? It was fun. I mean, it's always
54:12
tricky to film locations because you think you've got more
54:14
space than you do and it ends up being quite cramped.
54:16
But it was good. There's this lovely
54:18
line in the episode where William talks to
54:21
the Queen and says, she
54:23
wants me to come and meet her family. I
54:26
love this. To hang out. And
54:29
she says, oh, isn't that a bit
54:31
early? And that idea of William just hanging
54:33
out and there are these great quotation marks
54:35
around the way he says it. Because
54:37
that idea, they're so foreign to him
54:40
to just hang out with someone in
54:42
their living room or their kitchen and
54:45
to be normal. We try
54:47
to then present Kate coming from a
54:49
normal background as a normal
54:51
family, upper middle class, but still quite
54:54
normal to
54:56
everybody, relatable. And then he comes into
54:58
that and suddenly, here's some pasta and he
55:00
can put it on a tray and he can sit in front of
55:02
the telly and we can talk. Well,
55:04
as she says, I'm able to cut the question.
55:06
She says something about doing they have a dining
55:08
room or something like that. Yeah, William says, apparently
55:11
they eat in the kitchen. Why?
55:14
Do they not have a dining room? I think
55:16
they do, they say they like to eat together. But
55:19
their relationship is so great.
55:21
I love the kind of
55:23
granny and grandson relationship. There's
55:27
a bond there, isn't there? There is, and I had a
55:29
lot of fun with that because for
55:31
me, that was seen started in episode seven
55:33
of season five, episode eight,
55:35
where William went to Eaton
55:38
and started having buttered scones and
55:40
tea with granny on Sundays.
55:43
And that is sort of the relationship that
55:45
now has continued and developed in these episodes
55:47
in episode nine. And he can
55:49
sense that there is a
55:51
confidentiality between them and there is a
55:53
sense of a shared destiny being
55:56
number one and not number two, knowing what's about
55:58
to come for him. And the question is, has
56:00
this lovely protective emotion
56:02
around William in this episode. She wants
56:05
to make sure that he
56:07
gets to experience a bit of normality
56:09
and experience courtship and finding himself and
56:12
growing up and learning things and being
56:14
alone and outside them,
56:16
you know, the privileges of
56:18
the royal family and all the rigor of the presentation
56:20
of the royal family, being outside of that for as
56:22
long as he can, which is what
56:25
she experienced with Philip at Malta at
56:27
Villa Guadamangi, which she brings up. And
56:29
that, I think, is a lovely sentiment and it
56:31
feels very true. I used to
56:34
go to the Grace, as you know, every day, with all the
56:36
other wives. I'd
56:38
held dinner parties and picnics. I
56:43
went to the local hairdresser, wrote
56:45
the spotlight, living a perfectly normal
56:47
life. I
56:49
want you to have that too, as
56:52
normal a life as possible, for
56:55
as long as possible. I'm
56:57
doing my best. Good. And
57:00
on that note, since you wanted to ask, I
57:04
think I might have a girlfriend. Oh. Well,
57:09
do you, or don't you? I
57:11
do. I think. It's generally
57:13
good if they don't feel you're in two minds. Well, I'm
57:16
not in two minds. She
57:18
might be in two minds. Have
57:21
you aimed high? I'm possibly
57:23
high. I'm
57:29
Edith Bowman and I'd like to
57:31
give special thanks to our guests
57:33
on this episode. Edic Richter Strand,
57:35
Marsha Warren, Annie Salzberger, Anna
57:37
Basista and Luther Ford. The
57:40
Crown, the official podcast is produced by
57:42
Netflix and Sony Music Entertainment in
57:45
association with Left End Pictures. Join
57:48
me next time for the final episode of the
57:51
season. And
57:53
the final episode of The Crown
57:56
ever. Titled, Sleep,
57:59
Diddy. sleep. Prince
58:02
Charles decides it's time to marry Camilla
58:04
but he can't do so without his
58:07
mother's permission. Before signing
58:09
off Queen Elizabeth must consult with
58:11
Church, State and her
58:13
grandson as she considers the
58:16
future of the monarchy and her
58:18
own legacy. I've
58:21
always taken comfort in the knowledge
58:23
that God retaineth not his anger
58:25
forever because he delight us in
58:28
mercy. Whatever
58:30
short-term risk the marriage may present
58:32
to the integrity of the Church
58:34
one has to imagine it would do
58:37
less damage than if I were to
58:39
die. Well it is going to happen
58:41
one day and my
58:44
heir acceded to the throne while
58:48
living in
58:50
sin. Subscribe
58:52
now wherever you get your podcasts.
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